SCAN FOR LIFEFORMS.
 
AS DATA WORKS, HE BREAKS INTO A MERRY LITTLE SONG.
 
DATA
(SINGS)
"LIFEFORMS TINY LITTLE LIFEFORMS. WHERE ARE THE LIFEFORMS-"
 
PICARD
COMMANDER.
 
DATA
SORRY, SIR. (WORKS) THERE IS TOO MUCH INTERFERENCE IN THE PLANET'S
IONOSPHERE FOR AN ACCURATE READING.
 
WORF TURNS TO PICARD.
 
WORF
SIR, ACCORDING TO MY CALCULATIONS, A SOLAR PROBE LAUNCHED FROM
EITHER THE KLINGON SHIP OR THE PLANET'S SURFACE WILL TAKE ELEVEN
SECONDS TO REACH THE STAR. (BEAT) HOWEVER, SINCE WE DO NOT KNOW
THE EXACT POINT OF ORIGIN, IT WILL TAKE US BETWEEN EIGHT AND
FIFTEEN
SECONDS TO LOCK OUR WEAPONS ONTO IT.
 
THEY EXCHANGE A GRIM LOOK.
 
RIKER
(QUIET, TO PICARD)
THAT'S A PRETTY BIG MARGIN OF ERROR.
 
PICARD
TOO BIG. HOW LONG UNTIL THE RIBBON ARRIVES?
 
DATA
APPROXIMATELY FORTY-SEVEN MINUTES, SIR.
 
PICARD
(DISTURBED)
I HAVE TO FIND A WAY TO GET TO SORAN.
 
AN ALARM GOES OFF ON WORF'S CONSOLE.
 
WORF
CAPTAIN, KLINGON VESSEL DECLOAKING DIRECTLY AHEAD.
 
88A     ANGLE (VFN-I)   88A
 
ON THE VIEWSCREEN, THE BIRD OF PREY DECLOAKS.
 
WORF
THEY ARE HAILING.
 
PICARD
ON SCREEN.
 
88B     ANGLE (VFN-P)   88B
 
ON THE VIEWSCREEN, LURSA AND B'ETOR APPEAR.
 
LURSA
CAPTAIN. WHAT AN UNEXPECTED PLEASURE.
 
PICARD
LURSA, I WANT TO TALK TO SORAN.
 
LURSA
I'M AFRAID THE DOCTOR IS NO LONGER ABOARD OUR SHIP.
 
PICARD
THEN I'LL BEAM DOWN TO HIS LOCATION. JUST GIVE US HIS COORDINATES.
 
B'ETOR
THE DOCTOR VALUES HIS PRIVACY. HE WOULD BE QUITE UPSET IF AN AWAY
TEAM INTERRUPTED HIM.
 
PICARD
VERY WELL. I'LL BEAM TO YOUR SHIP AND YOU CAN TRANSPORT ME TO
SORAN.
 
RIKER
(URGENT)
SIR, YOU CAN'T TRUST THEM. THEY'LL KILL YOU JUST LIKE THEY KILLED
GEORDI.
 
LURSA AND B'ETOR EXCHANGE A GLANCE.
 
LURSA
(INNOCENT)
WE DID NOT KILL YOUR ENGINEER. HE'S BEEN OUR GUEST.
 
RIKER
THEN RETURN HIM.
 
B'ETOR
IN EXCHANGE FOR WHAT?
 
PICARD
ME. IF YOU LET ME SPEAK TO SORAN.
 
THE TWO SISTERS APPEAR TO CONSIDER THIS FOR A MOMENT.
 
B'ETOR
(TO LURSA)
THE CAPTAIN WOULD MAKE A MUCH MORE VALUABLE HOSTAGE.
 
LURSA
(TO PICARD)
WE'LL CONSIDER IT A PRISONER EXCHANGE.
 
PICARD
AGREED.
 
THE TRANSMISSION ENDS. PICARD HEADS FOR THE TURBOLIFT.
 
PICARD
NUMBER ONE, YOU HAVE THE BRIDGE. HAVE DOCTOR CRUSHER MEET ME IN
TRANSPORTER ROOM THREE.
 
PICARD ENITS
 
CUT TO:
 
89      INT. TRANSPORTER ROOM (VFN-P)   89
 
PICARD STANDS ON THE PLATFORM. CRUSHER AND NURSE OGAWA STAND
NEARBY. THE TRANSPORTER CHIEF WORKS HIS CONSOLE.
 
CHIEF
RECEIVING THE COORDINATES, CAPTAIN.
 
PICARD
ENERGIZE.
 
PICARD DEMATERIALIZES- AND AT THE SAME INSTANT, LA FORGE
MATERIALIZES. CRUSHER AND OGAWA RUSH TO HIS AIDE, PULL OUT THEIR
TRICORDERS AND SCAN HIM. LA FORGE IS CONSCIOUS, AND HE'S WEARING
HIS VISOR.
 
CUT TO:
 
90      ENT. MOUNTAINTOP- DAY (VFN-P)   90
 
A LARGE PLATEAU RINGED WITH TREES AND UNDERBRUSH. A SINGLE
ROCKFACE JUTS UPWARD, FORMING A BACKDROP FOR THE PLATEAU. AGAINST
THE ROCKFACE, A LARGE SCAFFOLDING HAS BEEN ERECTED- PLANKS AND
BEAMS FORMING A COMPLEX STRUCTURE- LADDERS CONNECT EACH LEVEL. IT
LEADS TO A NARROW LEDGE A DOZEN METERS ABOVE.
 
PICARD MATERIALIZES ON THE PLATEAU. (NOTE: PICARD'S COMBADGE IS
GONE AND HE IS UNARMED.) A MOMENT AS HE LOOKS AROUND. STRANGE
ANIMALS AND BIRDS CAN BE HEARD. HE TURNS AND SEES SORAN STANDING
NEARBY, CALMLY LOOKING AT HIS POCKETWATCH. SORAN PUTS THE WATCH
AWAY.
 
SORAN
YOU MUST THINK I'M QUITE THE MADMAN.
 
PICARD
THE THOUGHT HAD CROSSED MY MIND.
 
SORAN
THE ONLY POSSIBLE REASON YOU'RE HERE IS BECAUSE YOU'RE NOT ENTIRELY
CONFIDENT YOU CAN SHOOT DOWN MY PROBE AFTER ALL. SO YOU'VE COME
TO DISSUADE ME FROM MY HORRIFIC PLAN. (BEAT) GOOD LUCK.
 
SORAN TURNS HIS BACK ON PICARD AND WALKS AWAY.
 
90A     ANGLE (VFN-P)   90A
 
PICARD TAKES A STEP TO FOLLOW HIM AND THEN IS JOLTED BACKWARD BY A
LARGE FORCEFIELD WHICH BRIEFLY FLASHES INTO VIEW. THE FIELD
COMPLETELY SURROUNDS THE PLATEAU, ENCLOSING SORAN AND THE
SCAFFOLDING, WITH PICARD ON THE OUTSIDE. OFF PICARD'S SURPRISE.
 
CUT TO:
 
91      INT. KLINGON BIRD OF PREY- BRIDGE (VFN-P)       91
 
THE KLINGON NAVIGATOR IS WORKING HIS CONSOLE.
 
KLINGON HELM
I HAVE ESTABLISHED THE LINK.
 
LURSA
PUT IT THROUGH OVER HERE.
 
LURSA AND B'ETOR MOVE TO ONE OF THE CONSOLES WITH A LARGE
MONITOR.
THE SCREEN SHOWS STATIC FOR A FEW SECONDS, THEN CLEARS TO A
DISTORTED VIEW OF A CEILING ON THE ENTERPRISE- THIS IS LA FORGE'S
POV. (NOTE: THE POV IS SLIGHTLY FRITZED, BUT FREE OF THE USUAL
VISOR EFFECTS.)
 
LURSA
IT'S WORKING.
 
B'ETOR
WHERE IS HE?
 
SUDDENLY, CRUSHER'S FACE LOOMS LARGE IN THE PICTURE, AS IF SHE'S
LEANING OVER LA FORGE. SHE SMILES AND STARTS TALKING. WE CAN SEE
HER LIPS MOVE, BUT WE CAN'T HEAR WHAT SHE'S SAYING.
 
CRUSHER
(SILENT)
DON'T WORRY, THERE'S BEEN NO PERMANENT DAMAGE. YOUR HEART IS
PERFECTLY FINE. THERE'S BEEN A LITTLE ARTERIAL DAMAGE...
 
LURSA AND B'ETOR PULL BACK IN SURPRISE AT THE IMAGE.
 
B'ETOR
HUMAN FEMALES ARE SO REPULSIVE.
 
CUT TO:
 
92      INT. SICKBAY- CONTINUOUS        92
 
CRUSHER IS LEANING OVER LA FORGE, WHO IS ON A BIOBED.
MID-CONVERSATION.
 
CRUSHER
...AND SOME MYOCARDIAL DEGENERATION. I'M GOING TO GIVE YOU SOME
HEMATOZINE, AND I WANT TO RUN MORE TESTS, BUT I THINK YOU'RE GOING
TO BE FINE.
 
LA FORGE
THANKS, DOC.
 
CUT TO:
 
93      ENT. MOUNTAINTOP- DAY   93
 
PICARD IS WALKING THE PERIMETER OF THE INVISIBLE FORCEFIELD,
LOOKING FOR SOME WAY IN. SORAN IS CONCENTRATING ON HIS PADD AS
PICARD TRIES TO ENGAGE HIM ON SOME LEVEL.
 
PICARD
YOU DON'T NEED TO DO THIS, SORAN. I'M SURE WE COULD FIND SOME OTHER
WAY TO GET YOU INTO THIS NEXUS.
 
93A     ANGLE (VFN-P)   93A
 
SORAN GETS UP AND WORKS HIS CONTROL PADD. SUDDENLY A PROBE
LAUNCHER DECLOAKS IN THE MIDDLE OF THE PLATEAU. THE LAUNCHER IS A
CYLINDRICAL APPARATUS THE SIZE OF A SMALL CAR. SORAN GOES TO THE
LAUNCHER, STEPS ONTO IT AND BEGINS WORKING THE CONTROL PANEL.
 
SORAN
(CALM, DISTRACTED)
I'VE SPENT EIGHTY YEARS LOOKING FOR ANOTHER WAY, CAPTAIN. THIS IS
THE ONLY ONE. (BEAT) OF COURSE, YOU COULD ALWAYS COME WITH ME. YOU
FANCY YOURSELF AN EXPLORER. HERE'S A CHANCE TO EXPLORE SOMETHING
NO HUMAN HAS EVER EXPERIENCED.
 
PICARD
NOT IF IT MEANS KILLING OVER TWO HUNDRED MILLION PEOPLE. (BEAT,
THEN WITH MEANING) I WONDER, DID YOUR WIFE LEANDRA KNOW THAT SHE
MARRIED A MAN WHO WAS CAPABLE OF MASS MURDER?
 
THIS HAS TOUCHED A NERVE IN SORAN. SOMETHING DARK AND UGLY
FLICKERS ACROSS HIS FACE.
 
PICARD
(PRESSING ON)
WHEN YOU TUCKED YOUR CHILDREN INTO BED, DO YOU SUPPOSE THEY EVER
SUSPECTED THAT THEIR FATHER WOULD ONE DAY KILL MILLIONS AS CASUALLY
AS HE KISSED THEM GOODNIGHT?
 
SORAN LOOKS UP AT PICARD, AND FOR A MOMENT WE CAN SEE THAT PICARD
HAS REALLY GOTTEN TO HIM HERE. THEN HE FINALLY SMILES A SMILE THAT
DOESN'T QUITE REACH HIS EYES.
 
SORAN
NICE TRY.
 
CUT TO:
 
94      INT. LA FORGE'S BATHROOM- GEORDI'S POV  94
 
LA FORGE IS TAKING A BATH. WE CAN SEE HIS LEGS AND FEET STICKING
OUT OF THE WATER IN FRONT OF HIM. HE STANDS UP.
 
MOVE TO REVEAL
 
95      INT. KLINGON BIRD OF PREY- BRIDGE (VFN-P)       95
 
LURSA AND B'ETOR ARE STILL WATCHING LA FORGE'S POV ON THE MONITOR.
THEY ARE BORED AND IRRITABLE.
 
B'ETOR
I THOUGHT HE WAS THE CHIEF ENGINEER.
 
LURSA
HE IS.
 
B'ETOR
THEN WHEN IS HE GOING TO ENGINEERING?
 
THE POV SHOWS LA FORGE'S VIEW AS HE STOPS IN FRONT OF A MIRROR,
WIPES AWAY THE STEAM AND REVEALS HIS OWN REFLECTION. LURSA AND
B'ETOR GNASH THEIR TEETH IN FRUSTRATION.
 
CUT TO:
 
96      ENT. MOUNTAINTOP- DAY   96
 
SORAN IS WORKING INTENTLY ON THE LAUNCHER'S CONTROL PANEL. PICARD
IS STILL WALKING THE PERIMETER OF THE FORCEFIELD. HE'S ALSO STILL
TRYING TO ENGAGE SORAN, FIND SOME WAY TO GET TO HIM.
 
PICARD
WHAT YOU'RE ABOUT TO DO IS NO DIFFERENT FROM WHEN THE BORG
DESTROYED YOUR WORLD.
 
SORAN CONTINUES TO WORK. HE KEEPS HIS VOICE CALM AND
CONVERSATIONAL.
 
SORAN
YOU'RE RIGHT. AND THERE WAS A TIME WHEN I WOULDN'T HAVE HURT
ANYONE. THEN THE BORG CAME AND THEY SHOWED ME THAT IF THERE IS ONE
CONSTANT IN THIS UNIVERSE, IT'S DEATH. (BEAT) AFTERWARDS, I BEGAN
TO REALIZE THAT NONE OF IT MATTERED. WE'RE ALL GOING TO DIE ANYWAY.
IT'S ONLY A QUESTION OF HOW AND WHEN. YOU WILL TOO, CAPTAIN. YOU
MIGHT CONTRACT A FATAL DISEASE; YOU MIGHT DIE IN BATTLE.
 
SORAN NOW TURNS AND FIXES PICARD WITH A PENETRATING LOOK.
 
SORAN
OR BURN TO DEATH IN A FIRE.
 
PICARD FREEZES AT THIS. SORAN STEPS OFF THE LAUNCHER WITH A
CONFIDENT LOOK. HE MOVES CLOSER TO WHERE PICARD IS STANDING.
 
SORAN
YOU LOOKED SURPRISED. BUT YOU SHOULDN'T BE. I'VE BEEN TO THE NEXUS,
CAPTAIN. I KNOW THINGS ABOUT PEOPLE. (BEAT) AREN'T YOU BEGINNING TO
FEEL TIME GAINING ON YOU? IT'S LIKE A PREDATOR. IT'S STALKING YOU.
YOU CAN TRY TO OUTRUN IT WITH DOCTORS, MEDICINES, NEW TECHNOLOGIES
BUT IN THE END, TIME IS GOING TO HUNT YOU DOWN AND MAKE THE KILL.
 
THIS STRIKES HOME WITH PICARD'S OWN RECENT CONCERNS. HE STRUGGLES
FOR A MOMENT.
 
PICARD
WE'RE ALL MORTAL, SORAN. IT'S ONE OF THE TRUTHS OF OUR EXISTENCE.
 
SORAN
WHAT IF I TOLD YOU I FOUND A NEW TRUTH?
 
PICARD
THE NEXUS.
 
SORAN
TIME HAS NO MEANING THERE. THE PREDATOR HAS NO TEETH.
 
SORAN GLANCES UP AT THE SKY EXPECTANTLY, THEN TURNS AWAY FROM
PICARD AND GOES BACK TO WORK ON THE LAUNCHER. OFF PICARD'S
DISTURBED EXPRESSION.
 
97      INT. KLINGON BIRD OF PREY- BRIDGE (VFN-P)       97
 
B'ETOR WATCHING THE MONITOR, IMPATIENT. THE POV SHOWS LA FORGE'S
VIEW OF WALKING DOWN A CORRIDOR. LURSA WALKS OVER TO JOIN HER.
 
LURSA
WHERE IS HE NOW?
 
B'ETOR
I DON'T KNOW. HE BATHED, NOW HE IS ROAMING THE SHIP. HE MUST BE THE
ONLY ENGINEER IN STARFLEET WHO DOES NOT GO TO ENGINEERING!
 
CUT TO:
 
98      ENT. MOUNTAINTOP- DAY (VFN-P)   98
 
PICARD CONTINUES TO WALK AROUND THE PERIMETER OF THE FORCEFIELD.
HE SEES SOMETHING ON THE GROUND- A GNARLED ROOT FROM A LARGE
NEARBY TREE. THE ROOT IS POKING OUT OF THE GROUND, LEAVING A SMALL
ARCH THROUGH WHICH DAYLIGHT CAN BE SEEN. PICARD'S MIND BEGINS
RACING. HE GLANCES AT SORAN AND THEN PICKS UP A PEBBLE AND, WHILE
KEEPING HIS EYE ON THE ROOT, HE TOSSES THEPEBBLE INTO THE AIR,
WHERE
IT HITS THE FORCEFIELD. THE FORCEFIELD FLASHES ON BRIEFLY AND
PICARD
CAN SEE THAT THE BOTTOM BORDER OF THE FIELD FOLLOWS THE CONTOUR
OF THE ROOT. BUT IT DOES NOT EXTEND UNDERNEATH THE ARCH. SORAN
TURNS AT THE SOUND OF THE CRACKLING FIELD.
 
SORAN
CAREFUL, CAPTAIN. THAT'S A FIFTY GIGAWATT FORCEFIELD. I WOULDN'T
WANT TO SEE YOU GET HURT.
 
PICARD
THANK YOU.
 
SORAN RETURNS TO WORKING ON THE LAUNCHER, BUT PICARD LOOKS BACK
DOWN AT THE ROOT, THEN WALKS AWAY, PLANNING HIS NEXT MOVE.
 
CUT TO:
 
98A     INT. KLINGON BIRD OF PREY- BRIDGE       98A
 
LURSA AND B'ETOR ARE WATCHING THE MONITOR OF LA FORGE'S POV WITH
IRRITATED EXPRESSIONS. ON THE MONITOR, LA FORGE ROUNDS A CORNER
AND
ENTERS ENGINEERING. THE SISTERS LEAN FORWARD EAGERLY.
 
B'ETOR
FINALLY!
 
99      INT. ENGINEERING        99
 
LA FORGE IS TALKING TO AN ENGINEER NAMED FARRELL, N.D.S WORKING IN
B.G. MID-CONVERSATION.
 
FARRELL
I'D LIKE TO RUN A LEVEL THREE DIAGNOSTIC ON THE PORT PLASMA RELAYS.
I THINK ONE OF THE GENERATORS IS FLUCTUATING.
 
LA FORGE
OKAY, LET'S DO IT.
 
THEY BOTH MOVE TO CONSOLES.
 
100     INT. KLINGON BIRD OF PREY- BRIDGE (VFN-P)       100
 
AS BEFORE. ON THE SCREEN, WE CAN NOW SEE SEVERAL OF THE MONITORS
IN ENGINEERING. ON THE LEFT SIDE OF THE SCREEN IS THE LARGE CUTAWAY
VIEW OF THE ENTERPRISE. LURSA SUDDENLY REACTS TO SOMETHING ON THE
SCREEN.
 
LURSA
THAT'S IT! (TO B'ETOR) REPLAY FROM TIME INDEX 429.
 
B'ETOR WORKS. THE IMAGE ON THEIR MONITOR RUNS BACKWARD FOR A
MOMENT AND THEN FREEZES. ON THE SCREEN, WE CAN SEE SEVERAL OF THE
MONITORS IN ENGINEERING. ON THE LEFT SIDE OF THE SCREEN IS THE
LARGE
CUTAWAY VIEW OF THE ENTERPRISE. LURSA TOUCHES THE DIAGRAM.
 
LURSA
MAGNIFY THIS SECTION AND ENHANCE.
 
B'ETOR WORKS. THE PICTURE ZOOMS IN ON THE CUTAWAY GRAPHIC AND
SHARPENS IN FOCUS. THERE ARE SEVERAL BLOCKS OF NUMBERS AND TEXT
VISIBLE. LURSA STUDIES THE IMAGE.
 
LURSA
THEIR SHIELDS ARE OPERATING ON A MODULATION OF 257.4.
 
THE SISTERS EXCHANGE AN EXCITED GLANCE, THEN MOVE TOWARD THE
COMMAND AREA.
 
B'ETOR
(CALLS OUT)
ADJUST OUR TORPEDO FREQUENCY TO MATCH- 257.4!
 
THE TWO SISTERS SMILE EAGERLY.
 
101     INT. ENTERPRISE BRIDGE  101
 
DATA
(TO RIKER)
SIR, I AM DETECTING AN ANOMALOUS SUBSPACE READING IN MAIN
ENGINEERING. IT MAY BE-
 
THE SHIP IS SUDDENLY ROCKED VIOLENTLY. ALARMS GO OFF ON THE BRIDGE.
 
102     ENT. SPACE- ENTERPRISE AND KLINGON SHIP (VFN-I) 102
 
THE KLINGON SHIP IS FIRING FOUR TORPEDOES AT THE ENTERPRISE. THE
TORPEDOES PASS STRAIGHT THROUGH THE SHIP'S SHIELDS AND HIT DIRECTLY
ON THE HULL.
 
103     INT. ENTERPRISE BRIDGE  103
 
ANOTHER VIOLENT HIT.

WORF
(SHOCKED)
THEY HAVE FOUND A WAY TO PENETRATE OUR SHIELDS.
 
RIKER
LOCK PHASERS AND RETURN FIRE!
 
104     ENT. SPACE- THE ENTERPRISE & KLINGON SHIP (VFN-I)       104
 
THE ENTERPRISE FIRES AT THE BIRD OF PREY, BUT THE PHASER SHOTS ARE
STOPPED BY THE KLINGON SHIELDS, WHICH FLASH ON WHEN THEY'RE HIT.
 
THE BIRD OF PREY RETURNS FIRE. THE SHOT CARVES A JAGGED TEAR IN THE
ENTERPRISE'S HULL.
 
105     INT. BRIDGE     105
 
AS BEFORE. THE SHIP IS JOLTED AGAIN. THE CON CONSOLE EXPLODES AND
THE CON OFFICER IS KILLED.
 
RIKER
(TO TROI)
DEANNA, TAKE THE HELM. GET US OUT OF ORBIT.
 
TROI RUSHES TO THE CON AND WORKS.
 
106     ENT. SPACE- THE ENTERPRISE & KLINGON SHIP (VFN-I)       106
 
THE ENTERPRISE TURNS AND LEAVES ORBIT, BUT THE KLINGON SHIP IS
RIGHT ON TOP OF THEM, FIRING AT THE DEFENSELESS STARSHIP.
 
107     INT. BRIDGE     107
 
A JOLT.
 
DATA
HULL BREACH ON DECKS 31 THROUGH 35.
 
ANOTHER JOLT. THE BRIDGE LIGHTS FLICKER. THE SITUATION IS
DESPERATE.
 
RIKER
(URGENT, TO WORF)
WORF, THAT'S AN OLD KLINGON SHIP. WHAT DO WE KNOW ABOUT IT? ARE
THERE ANY WEAKNESSES?
 
THE SHIP IS JOLTED. THEY ALL HOLD ON.
 
WORF
IT IS A CLASS D-12 BIRD OF PREY. THEY WERE RETIRED FROM SERVICE
BECAUSE OF DEFECTIVE PLASMA COILS.
 
RIKER
PLASMA COILS...IS THERE ANY WAY WE CAN USE THAT TO OUR ADVANTAGE?
 
WORF
I DO NOT SEE HOW. THE PLASMA COIL IS PART OF THEIR CLOAKING DEVICE.
 
107A    INT. ENGINEERING        107A
 
THERE IS A SUDDEN EXPLOSION ON THE UPPER LEVEL. LA FORGE AND THE
OTHER ENGINEERS RUSH TO DEAL WITH IT.
 
LA FORGE
GET A STABILIZER ON THAT CONDUIT.
 
107B    INT. BRIDGE     107B
 
RIKER SUDDENLY GETS AN INSPIRATION AS THE BRIDGE IS ROCKED.
 
RIKER
(TO DATA)
COULD WE ACCESS THE DEFECTIVE COIL AND TRIGGER THEIR CLOAK?
 
DATA
(CONSIDERS)
PERHAPS. (SUDDENLY ENTHUSIASTIC) YES! IF WE SENT A LOW-LEVEL IONIC
PULSE, IT MIGHT RESET THE COIL AND ENGAGE THE CLOAKING SYSTEMS.
 
WORF
(ONTO THE IDEA)
AS THEIR CLOAK BEGINS TO ENGAGE, THEIR SHIELDS WILL DROP.
 
RIKER
RIGHT. AND THEY'LL BE VULNERABLE FOR AT LEAST TWO SECONDS. (TO
DATA) DATA,LOCK ONTO THAT PLASMA COIL.
 
DATA
(CONFIDENT)
NO PROBLEM.
 
DATA GOES TO WORK.
 
RIKER
WORF, PREPARE A SPREAD OF PHOTON TORPEDOES. WE'LL HAVE TO HIT THEM
THE INSTANT THEY BEGIN TO CLOAK.
 
WORF
AYE, SIR.
 
RIKER
WE'RE ONLY GOING TO GET ONE SHOT AT THIS. TARGET THEIR PRIMARY
REACTOR. WITH ANY LUCK, THEIR WARP CORE SHOULD IMPLODE.
 
WORF WORKS.
 
108     ENT. SPACE- THE ENTERPRISE & KLINGON SHIP (VFN-I)       108
 
THE ENTERPRISE ROLLS AND TURNS BACK TOWARD THE PLANET, TRIES TO
GET AWAY FROM THE KLINGON SHIP. BUT THE BIRD OF PREY FOLLOWS ITS
EVERY MOVE.
 
109     INT. BRIDGE     109
 
DATA
I HAVE ACCESSED THEIR COIL FREQUENCY, INITIATING IONIC PULSE.
 
THE SHIP IS HIT AGAIN. AN AFT CONSOLE EXPLODES.
 
RIKER
MAKE IT QUICK!
 
110     INT. KLINGON BIRD OF PREY       110
 
LURSA AND B'ETOR IN COMMAND, SAVORING THEIR IMMINENT VICTORY.
 
LURSA
(TO NAVIGATOR)
TARGET THEIR BRIDGE.
 
B'ETOR
FULL DISRUPTORS.
 
THE NAVIGATOR SUDDENLY REACTS TO SOMETHING ON HIS CONSOLE.
 
KLINGON HELM
WE ARE CLOAKING!
 
B'ETOR
WHAT?
 
KLINGON HELM
MISTRESS- OUR SHIELDS ARE DOWN!
 
111     ENT. SPACE- THE KLINGON SHIP (VFN-I)    111
 
THE SHIP BEGINS SHIMMERING- ENGAGING ITS CLOAK.
 
112     INT. ENTERPRISE BRIDGE  112
 
RIKER
FIRE!
 
WORF WORKS.
 
113     OMITTED 113
 
114     INT. KLINGON BIRD OF PREY (VFN-I)       114
 
LURSA AND B'ETOR REACT TO THE SIGHT ON THE VIEWSCREEN AS THE
SPREAD OF TORPEDOES HEADS DIRECTLY FOR THEM. THE TWO SISTERS
EXCHANGE A LOOK. THE SHIP IS SUDDENLY ROCKED HARD AND WE CAN SEE
THE BEGINNING OF AN EXPLOSION.
 
115     ENT. SPACE- THE KLINGON SHIP (VFN-I)    115
 
THE SHIP IMPLODES, COMPLETELY DESTROYED. PIECES OF THE SHATTERED
VESSEL FLOAT PAST THE CAMERA.
 
116     INT. ENTERPRISE BRIDGE  116
 
DATA
(EXCITED)
YES!!
 
CUT TO:
 
117      ENT. MOUNTAINTOP- DAY (VFN-P)  117
 
PICARD HAS MADE HIS WAY BACK TO THE GNARLED ROOT. HE STANDS A FEW
FEET AWAY, A COUPLE OF PEBBLES IN HIS HAND. HE GLANCES AT SORAN,
WHO'S ABSORBED WITH HIS WORK ON THE LAUNCHER. PICARD THEN
SURREPTITIOUSLY TOSSES A PEBBLE TOWARD THE ROOT. IT MISSES AND
BOUNCES OFF THE FORCEFIELD. SORAN LOOKS OVER HIS SHOULDER AT
PICARD, WHO SITS DOWN ON A ROCK. SORAN RETURNS TO HIS WORK. PICARD
TOSSES A SECOND PEBBLE- THIS ONE ALSO HITS THE FORCEFIELD. SORAN
TURNS WITH A VAGUELY IRRITATED LOOK.
 
SORAN
(AS IF TO A CHILD)
DON'T YOU HAVE ANYTHING BETTER TO DO?
 
PICARD DOESN'T RESPOND. SORAN GOES BACK TO WORK.
 
PICARD WAITS A MOMENT, THEN TAKES AIM AND TOSSES ANOTHER PEBBLE
TOWARD THE ROOT. THIS TIME, THE PEBBLE BOUNCES UNDERNEATH THE
ARCH AND ROLLS ONTO THE PLATEAU- INSIDE THE FORCEFIELD. PICARD
KEEPS
HIS EXPRESSION NEUTRAL, BUT HE'S FOUND A WAY IN.
 
CUT TO:
 
118     INT. ENGINEERING        118
 
THE ROOM IS A DISASTER. WRECKAGE FROM DESTROYED CONSOLES AND
DEBRIS ARE SCATTERED THROUGHOUT THE ROOM. LA FORGE IS DESPERATELY
WORKING WITH ENGINEERS NEAR THE WARP CORE, WHICH IS RUNNING
FASTER AND FASTER.
 
LA FORGE
(TO COM)
LA FORGE TO BRIDGE. I'VE GOT A PROBLEM DOWN HERE. THE MAGNETIC
INTERLOCKS HAVE BEEN RUPTURED. I NEED TO GET THE-
 
THE WARP CORE STARTS TO SPEW WHITE-HOT GAS.
 
LA FORGE
COOLANT LEAK! EVERYBODY OUT.
 
THE EMERGENCY ISOLATION DOOR COMES DOWN AND PEOPLE START
RUSHING
OUT OF ENGINEERING. LA FORGE HEADS FOR THE CORRIDOR.
 
LA FORGE
(ON THE MOVE, TO COM)
BRIDGE, WE'VE GOT A NEW PROBLEM. WE'RE ABOUT FIVE MINUTES FROM A
WARP CORE BREACH. THERE'S NOTHING I CAN DO.
 
119     INT. BRIDGE     119
 
RIKER IS FACED WITH A NO-WIN SITUATION. HE MAKES THE DECISION.
 
RIKER
(TO TROI)
DEANNA, EVACUATE EVERYONE INTO THE SAUCER SECTION. (TO DATA) MR.
DATA, PREPARE TO SEPARATE THE SHIP.
 
TROI AND DATA WORK AND RIKER MOVES TO THE CAPTAIN'S CHAIR. HE
PRESSES A BUTTON ON THE ARMCHAIR CONSOLE, A UNIQUE AND URGENT
ALARM
IS HEARD THROUGHOUT THE SHIP.
 
SERIES OF SHOTS AS THE ALARM SOUNDS:
 
120     CREWMEMBERS AND CIVILIANS       120
 
RUSHING THROUGH THE CORRIDORS.
 
120A    LA FORGE        120A
 
DIRECTING PEOPLE TOWARD THE CORRECT DOORWAYS.
 
120B    PARENTS 120B
 
GRABBING THEIR CHILDREN AND HEADING DOWN THE CORRIDOR.
 
120C    CRUSHER AND A NURSE     120C
 
GRAB A WOUNDED CREWMEMBER AND PULL HIM DOWN THE CORRIDOR.
 
120D    PEOPLE  120D
 
SCRAMBLING THROUGH JEFFERIES TUBES AND CLOSING HATCHES BEHIND
THEM.
 
121     ENT. MOUNTAINTOP- DAY (VFN-P)   121
 
SORAN IS FINISHING HIS WORK ON THE LAUNCHER. ON ONE OF THE MONITORS
ON THE CONTROL PANEL, WE CAN NOW SEE ALIEN GRAPHICS AND NUMBERS
TICKING BY- OBVIOUSLY A COUNTDOWN IN PROGRESS. SORAN FINISHES AND
TURNS OFF THE CONTROL PANEL. HE STEPS DOWN AND LOOKS OVER AT
PICARD, WHO IS STANDING NEAR THE FORCEFIELD.
 
SORAN
NOW, IF YOU'LL EXCUSE ME, CAPTAIN, I HAVE AN APPOINTMENT WITH
ETERNITY AND I DON'T WANT TO BE LATE.
 
 
SORAN TURNS AND BEGINS TO CLIMB UP THE SCAFFOLDING TOWARD THE TOP
OF THE ROCKFACE. PICARD WATCHES HIM INTENTLY FOR A FEW MOMENTS,
THEN QUICKLY SPRINGS INTO ACTION.
 
122     INT. JEFFERIES TUBE     122
 
PEOPLE SCRAMBLE THROUGH THE TUBE AND OUT INTO A CORRIDOR. LA
FORGE IS THE LAST MAN THROUGH THE HATCH. HE TURNS AND MANUALLY
SHUTS THE HATCH BEHIND HIM.
 
LA FORGE
(HITS COMBADGE)
THAT'S IT, BRIDGE- WE'RE ALL OUT!
 
123     INT. BRIDGE     123
 
DATA
ONE MINUTE TO WARP CORE BREACH.
 
RIKER
(TO DATA)
BEGIN SEPARATION SEQUENCE. (TO TROI) FULL IMPULSE POWER ONCE WE'RE
CLEAR.
 
DATA WORKS.
 
124     ENT. SPACE- THE ENTERPRISE (VFN-I)      124
 
LOOKING FORWARD FROM BEHIND THE REAR OF THE MASSIVE SHIP. A CRACK
APPEARS AS THE SEPARATION PROCESS BEGINS.
 
124A    INT. BRIDGE (VFN-I)     124A
 
EVERYONE IS WATCHING THE VIEWSCREEN WITH ANTICIPATION.
 
DATA
SEPARATION COMPLETE. TEN SECONDS TO WARP CORE BREACH.
 
TROI
ENGAGING IMPULSE ENGINES.
 
125             125
THRU    OMITTED THRU
128             128
 
129     ENT. SPACE- SAUCER SECTION (VFN-I)      129
 
MOVES AWAY FROM THE BATTLE SECTION. BEFORE IT CAN COMPLETELY
ESCAPE, THE BATTLE SECTION EXPLODES. THE FORCE OF THE EXPLOSION
HITS THE SAUCER SECTION, KNOCKING IT TOWARD THE PLANET.
 
130     INT. BRIDGE (VFN-I)     130
 
EVERYONE IS KNOCKED TO THEIR KNEES.
 
RIKER
REPORT.
 
TROI
HELM CONTROLS ARE OFF-LINE!
 
THEY ALL LOOK AT THE VIEWSCREEN. THE PLANET IS RUSHING TOWARD THEM.
 
131     CLOSE ON DATA   131
 
AS HE REACTS TO THE TERRIFYING IMAGE.
 
DATA
OH, SHIT.
 
CUT TO:
 
132     ENT. MOUNTAINTOP- DAY (VFN-P)   132
 
PICARD HAS DROPPED TO THE GROUND AND IS ON HIS BACK- HE'S TRYING TO
WRIGGLE UNDERNEATH THE ROOT. IT'S NOT EASY; HE KNOWS THERE'S NOT
MUCH ROOM BETWEEN THE GROUND AND THE INVISIBLE FIELD. HE JUST GETS
HIS HEAD AND SHOULDERS UNDERNEATH WHEN HE ACCIDENTALLY TOUCHES
THE FIELD AND IT CRACKLES VIOLENTLY AROUND HIM. PICARD IS JOLTED BY
THE SHOCK.
 
132A    SORAN (VFN-P)   132A
 
TURNS AT THE SOUND OF THE FIELD, SEES PICARD, AND THEN DRAWS HIS
WEAPON. SORAN QUICKLY FIRES AT PICARD.
 
132B    THE GROUND (VFN-P)      132B
 
IS BLASTED APART, CREATING A CLOUD OF DIRT AND SMOKE, OBSCURING
PICARD AND THE WHOLE AREA MOMENTARILY.
 
SORAN JUMPS DOWN ONE LEVEL ON THE SCAFFOLDING, HIS DISRUPTOR STILL
IN HIS HAND, READY JUST IN CASE PICARD SOMEHOW SURVIVED. SORAN
PEERS THROUGH THE CLOUD OF DUST AND DEBRIS.
 
THE DUST FROM THE EXPLOSION FINALLY CLEARS BUT PICARD IS GONE
ALONG WITH SEVERAL FEET OF THE GROUND WHERE HE WAS CRAWLING.
 
132C    SORAN (VFN-I)   132C
 
GLANCES UP AT THE SKY AND SEES THE DISTANT ENERGY RIBBON JUST
COMING INTO VIEW. THERE'S NO TIME TO LOOK FOR PICARD. SORAN BEGINS
TO CLIMB THE SCAFFOLDING.
 
CUT TO:
 
133     ENT. SPACE- SAUCER SECTION (VFN-I)      133
 
PLUMMETS INTO THE PLANET'S ATMOSPHERE.
 
134     INT. BRIDGE     134
 
THE SHIP IS SHAKING AND ROLLING VIOLENTLY. EVERYONE HANGING ON FOR
DEAR LIFE.
 
SERIES OF SHOTS:
 
135     CORRIDOR        135
 
TEACHERS AND PARENTS LEAD A GROUP OF CHILDREN TOWARD AN
INTERSECTION. THE PARENTS GO DOWN ONE CORRIDOR, THE TEACHERS AND
CHILDREN DOWN ANOTHER. ONE CHILD CRIES OUT AND TRIES TO REACH FOR
ITS MOTHER, BUT THERE'S NO TIME- A TEACHER KEEPS THE CHILD MOVING
DOWN THE HALL.
 
135A    CREW QUARTERS   135A
 
PEOPLE ARE BRACING THEMSELVES FOR THE CRASH, TAKING EMERGENCY
POSITIONS AGAINST WALLS, ETC.
 
136     OMITTED 136
 
137     INT. BRIDGE (VFN-I)     137
 
THE GROUND IS GETTING CLOSER ON THE VIEWSCREEN.
 
DATA
(OFF CONSOLE)
I HAVE REROUTED AUXILIARY POWER TO THE LATERAL THRUSTERS-
ATTEMPTING TO LEVEL OUR DESCENT.
 
RIKER
(TO COM)
ALL HANDS, BRACE FOR IMPACT!
 
138     ENT. PLANET'S ATMOSPHERE- SAUCER SECTION (VFN-I)        138
 
THE LEADING EDGE OF THE HUGE SAUCER TILTS UPWARD SLIGHTLY, AND
THEN IT HITS THE SURFACE. THE SAUCER BEGINS TO PLOW THROUGH THE
DENSE RAIN FOREST. AS THE SHIP CONTINUES THROUGH THE JUNGLE, WE
INTERCUT THE FOLLOWING SEQUENCES.
 
138A    INT. BRIDGE     138A
 
RIKER AND THE OTHERS HANGING ON AS THE SHIP SHAKES VIOLENTLY.
 
138B    CREW QUARTERS   138B
 
A FAMILY HUDDLES FOR PROTECTION AS THE WINDOWS ARE BLOWN INWARD
BY DEBRIS.
 
138C    INT. READY ROOM 138C
 
THE SIDE WINDOW IS BLOWN OUT AND PICARD'S PHOTO ALBUM IS TOSSED
ACROSS THE ROOM ALONG WITH EVERYTHING ELSE.
 
138D    ENT. SAUCER SECTION (VFN-I)     138D
 
OUTSIDE THE SHIP, WE SEE A HUGE WALL OF METAL CRASHING THROUGH THE
JUNGLE, UPROOTING TREES, DIRT FLYING, BIRDS SCRAMBLING OUT OF THE
WAY. AN ENORMOUS SCENE OF DESTRUCTION AS IT TEARS THROUGH THE
FOLIAGE.
 
139     INT. BRIDGE     139
 
THE SHIP CONTINUES TO JUMP AND SHAKE; EVERY LIGHT ON THE SHIP GOES
OUT IN THE CRASH. FINALLY, IT COMES TO A STOP. THERE IS A LONG,
QUIET BEAT, THEN PEOPLE BEGIN TO STIR IN THE DARKENED ROOM.
 
140     ANGLE ON RIKER  140
 
WHO IS SLUMPED IN HIS CHAIR. HE CATCHES HIS BREATH, LIFTS HIS FACE
AND LOOKS UP INTO SUNLIGHT. HE SHIELDS HIS EYES AND LOOKS UP AT THE
CEILING AND REACTS.
 
141     RIKER'S POV (VFN-P)     141
 
THE SUN IS SHINING IN THROUGH THE SHATTERED OVERHEAD WINDOW ON
THE TOP OF THE BRIDGE. THERE IS A FLUTTERING SOUND AS A COUPLE OF
BIRDS PERCH ON THE RIM OF THE WINDOW.
 
142     ENT. PLANET'S SURFACE- THE ENTERPRISE (WIDE SHOT) (VFN-I)=
       142
 
THE SAUCER HAS COME TO A STOP IN THE MIDDLE OF A RAIN FOREST. THE
PASSAGE OF THE SAUCER HAS GOUGED A LONG TRAIL THROUGH THE FOREST
BEHIND THE SHIP. 
 
OFF THIS STARTLING SIGHT
 
CUT TO:
 
143     ENT. MOUNTAINTOP- DAY   143
 
SORAN IS CLIMBING UP THE SCAFFOLDING. HE GETS A COUPLE OF LEVELS
UP, AND THEN SUDDENLY A BOOT KICKS HIM IN THE FACE. PICARD HAS MADE
IT INSIDE THE FIELD.
 
A QUICK FIGHT ENSUES, DURING WHICH PICARD IS KNOCKED A FEW LEVELS
DOWN ON THE SCAFFOLDING. HE LANDS HARD AND HAPPENS TO LOOK UP
INTO THE SKY. HE SEES SOMETHING.
 
144     PICARD'S POV- THE SKY (VFN-I)   144
 
THE ENERGY RIBBON CAN BE SEEN IN THE DISTANT SKY: A BIZARRE SNAKE
OF COLOR STREAKING ACROSS THE DEEP BLUE SKY. TIME IS ALMOST UP.
 
145     RESUME ACTION (VFN-I)   145
 
PICARD AVOIDS A VICIOUS KICK FROM SORAN, GLANCES DOWN AT THE PROBE
LAUNCHER, AND REALIZES HE'S GOT ONE CHANCE. HE ROLLS TO HIS FEET,
RUNS TOWARD THE PROBE LAUNCHER.
 
THERE IS A THUNDEROUS ROAR AS THE LAUNCHER FIRES THE PROBE INTO
THE
SKY.
 
THE PLATEAU IS SUDDENLY QUIET AS THE PROBE STREAKS TOWARD THE
DISTANT SUN AND DISAPPEARS FROM VIEW. PICARD GETS TO HIS KNEES,
STARES AFTER THE PROBE, SHOCKED. HE'S FAILED. THEY WATCH THE SUN
FOR A SILENT MOMENT, WAITING.
 
146     THE SUN (VFN-I) 146
 
BEGINS TO DARKEN AND COLLAPSE, AS SEEN BEFORE.
 
147     RESUME PLATEAU  147
 
THE SCENE DARKENS AS THE SUN GOES OUT AND NIGHT FALLS ON THE
PLANET.
 
SORAN, A LOOK OF PROFOUND ELATION ON HIS FACE, MAKES HIS WAY TO THE
TOP OF THE SCAFFOLDING AND LOOKS INTO THE SKY.
 
148     PICARD (VFN-I)  148
 
GETS TO HIS FEET AND STARES AT THE ONRUSHING RIBBON, THE WIND
WHIPPING UP ON THE PLATEAU. HE BACKS AWAY AT THE SIGHT, COMING TO
A STOP WITH HIS BACK AGAINST THE SCAFFOLDING. THERE'S NO WHERE TO
RUN.
 
149     NEW ANGLE- THE PLATEAU (VFN-I)  149
 
AS THE RIBBON OF ENERGY TEARS ACROSS THE SCENE IN A TERRIFYING
TORRENT OF LIGHT AND SOUND. THE SCENE IS WASHED OUT BY A BLINDING
FLOOD OF RED LIGHT. THEN SUDDENLY THE RIBBON IS GONE AND SO ARE
PICARD AND SORAN. THE PLATEAU IS STRANGELY AND UTTERLY SILENT AFTER
THE PASSAGE OF THE RIBBON. EVEN THE BIRDS HAVE STOPPED CHIRPING IN
THE TREES.
 
150     ENT. SPACE- VERIDIAN III (VFN-I)        150
 
AS THE ENERGY RIBBON RUSHES PAST THE CAMERA, A HUGE SHOCKWAVE
FROM THE DESTROYED STAR HITS THE PLANET AND IT EXPLODES IN A BLAST
OF FIERY DEBRIS.
 
CUT TO:
 
151     CLOSE ON PICARD 151
 
BEING LED THROUGH A DARKENED HALLWAY. HE IS WEARING A BLINDFOLD.
O.S. HANDS TUG AND PULL AT HIM, LEADING HIM FORWARD DOWN THE HALL.
HE'S LOST AND CONFUSED, UNSURE WHERE HE IS OR WHAT'S GOING ON. HE
TRIES TO RESIST, BUT CAN'T. THE HANDS KEEP PULLING AT HIM.
 
HE IS FINALLY BROUGHT OUT INTO A LARGER ROOM, DARK. THE HANDS
RELEASE HIM AND HE STANDS ALONE. HE TAKES A BEAT AND TRIES TO TAKE
CONTROL OF THE SITUATION.
 
PICARD
WHAT'S GOING ON? WHERE AM I?
 
TWO HANDS REACH INTO FRAME FROM O.S. AND REMOVE THE BLINDFOLD.
 
152     PICARD'S POV    152
 
THE BLINDFOLD DROPS, REVEALING A BLURRY KALEIDSCOPE OF COLORS AND
SHAPES.
 
153     ON PICARD       153
 
AS HE BLINKS AND TRIES TO FOCUS.
 
154     PICARD'S POV    154
 
AS THE ROOM COMES INTO FOCUS. THE FIRST THING WE SEE IS AN
ENORMOUS, GAILY DECORATED CHRISTMAS TREE SPARKLING WITH HUNDREDS
OF
LIGHTS.
 
155     REVEAL THE ROOM 155
 
A 24TH-CENTURY FRENCH LIVING ROOM. IT IS BEAUTIFULLY DECORATED WITH
LIGHTS, ORNAMENTS, HOLLY. BRIGHTLY WRAPPED PRESENTS ARE CLUSTERED
BENEATH THE CHRISTMAS TREE. THERE ARE FIVE CHILDREN STANDING AND
SITTING IN THE ROOM, ALL LOOKING AT PICARD WITH BRIGHT, SMILING
FACES, WAITING FOR HIM TO SAY SOMETHING.
 
PICARD STARES AT THE SCENE FOR A MOMENT, UNSURE HOW TO REACT.
THEN WE HEAR A WOMAN'S VOICE AND WE MOVE TO REVEAL AN ATTRACTIVE
WOMAN IN HER FORTIES STANDING NEXT TO PICARD.
 
WOMAN
GO ON, SAY SOMETHING. THEY'RE WAITING.
 
PICARD IS STUNNED.
 
PICARD
I, DON'T KNOW WHAT TO SAY.
 
ONE OF THE CHILDREN, A YOUNG GIRL, SPEAKS UP.
 
GIRL
SAY MERRY CHRISTMAS, PAPA!
 
PICARD
(IN A DAZE)
MERRY CHRISTMAS.
 
THE CHILDREN BREAK OUT INTO APPLAUSE. THE WOMAN KISSES HIM ON THE
CHEEK, THEN STEERS HIM TO A LARGE, OVERSTUFFED CHAIR. PICARD SITS
DOWN AND THE CHILDREN STARTS HANDING OUT PRESENTS WITH MUCH
LAUGHTER AND CHATTING.
 
CHILDREN
THIS ONE'S FOR YOU. WHERE'S MINE? I HOPE THIS IS THE BOOK I ASKED
FOR. TAKE THIS ONE TO PAPA.
 
AS THE ACTIVITY SWIRLS AROUND HIM, PICARD BEGINS TO FEEL AN IMMENSE
SENSE OF SATISFACTION AND HAPPINESS. IT'S LIKE A DRUG- AN
OVERWHELMING FEELING OF JOY AND CONTENTMENT FILLS PICARD. IT'S A
WONDROUS EXPERIENCE. HE SETTLES BACK IN THE CHAIR AND A SMILE
SPREADS ACROSS HIS FACE. FOR REASONS HE CANNOT NAME AND DOES NOT
EVEN WANT TO UNDERSTAND AT THE MOMENT, HE IS VERY, VERY HAPPY.
 
GIRL
(TO PICARD)
ISN'T THE TREE BEAUTIFUL, PAPA?
 
PICARD ANSWERS AS IF IT WERE THE MOST NATURAL THING IN THE WORLD.
 
PICARD
OH YES  YES, IT'S ASTONISHINGLY BEAUTIFUL. ALL OF IT.
 
ALL OF THE CHILDREN NOW CROWD AROUND THE CHAIR WITH A SINGLE
LARGE
GIFT AND HAND IT TO PICARD. ONE OF THE YOUNGER BOYS SPEAKS UP.
 
YOUNG BOY
THIS IS FROM ALL OF US.
 
PICARD
THANK YOU. I CAN'T IMAGINE WHAT IT IS.
 
PICARD TEARS OPEN THE BOX AND PULLS OUT A 19TH-CENTURY SEXTANT- AN
OLD-FASHIONED NAUTICAL NAVIGATIONAL INSTRUMENT. IT'S A BEAUTIFUL
PIECE WITH POLISHED AND GLEAMING BRASS.
 
YOUNG BOY
(EXCITED)
IT'S A SACK-TENT!
 
PICARD EYES IT WITH DELIGHT.
 
PICARD
YOU MEAN A SEXTANT. AND IT'S A HANDSOME ONE AT THAT, FROM ABOUT
1820, I'D SAY. WHEREVER DID YOU FIND IT?
 
GIRL
IT'S A SECRET.
 
PICARD
(SMILES)
OH, A SECRET. WELL, THAT MAKES IT A DOUBLY SPECIAL GIFT. THANK YOU.
THANK YOU ALL.
 
THE CHILDREN REACT WITH PLEASURE. THEY CLUSTER AROUND HIM,
SHOWERING HIM WITH HUGS AND KISSES.
 
CHILDREN
MERRY CHRISTMAS, PAPA. I LOVE YOU. ETC.
 
PICARD IS COVERED IN A BLANKET OF LOVE AND AFFECTION. THE CHILDREN
PULL BACK AND RETURN TO THEIR OWN PRESENTS. THERE IS A SWIRL OF
ACTIVITY AND COMMOTION AS A WARM AND HEARTFELT CHRISTMAS MORNING
IS
PLAYED OUT.
 
WOMAN
(TO PICARD)
I'LL GO GET DINNER READY. THEY'LL BE STARVING IN A MINUTE.
 
PICARD NODS AS THE WOMAN ENITS THE ROOM. HE LOOKS AROUND THE
SCENE,
UTTERLY HAPPY, UTTERLY CONTENT.
 
THE CHILDREN CONTINUE TO CHATTER AND LAUGH AMONG THEMSELVES AS
PICARD'S EYE FALLS ON THE GLORIOUS CHRISTMAS TREE. HE CAN'T HELP
BUT SMILE AS HE LOOKS OVER THE ORNAMENTS AND DECORATIONS.
 
156     PICARD'S POV    156
 
OF THE SPARKLING LIGHTS AND ORNAMENTS- A SWIRL OF COLOR AND LIGHT.
 
157     PICARD  157
 
HIS EYE IS CAUGHT BY SOMETHING IN PARTICULAR ON THE TREE. HE LEANS
FORWARD SLIGHTLY AND STARES AT IT.
 
158     PICARD'S POV (VFN-P)    158
 
HIS EYE HAS BEEN CAUGHT BY AN ORNAMENT HANGING NEAR THE TOP OF
THE TREE. IT IS A LARGE AND BEAUTIFUL GLASS BALL WITH A TINY LIGHT
IN
THE CENTER IN THE SHAPE OF A STAR. AS PICARD WATCHES, THE STAR
SUDDENLY GOES OUT, AND IT RADIATES A SHIMMERING LIGHT EFFECT THAT
EXPANDS OUTWARD INTO THE GLASS SPHERE.
 
IT'S A STARTLING AND BEAUTIFUL ORNAMENT WHOSE EFFECT IS REMINISCENT
OF THE STAR GOING OUT, AS SEEN EARLIER IN THE FILM. BUT THIS IS
JUST COINCIDENCE- THIS IS THE WAY THE ORNAMENT WAS DESIGNED AND
IT'S SIMPLY ONE OF MANY ORNAMENTS ON THE TREE.
 
159     PICARD  159
 
REACTS. THE IMAGE OF THE ORNAMENT HAS TOUCHED A NERVE WITHIN HIM
SOMEWHERE. IT HAS REMINDED HIM OF SOMETHING HE'D NEARLY
FORGOTTEN- A DISCORDANT NOTE IN AN OTHERWISE WONDROUS AND
MAGICAL SCENE. HE FROWNS, THE REVERIE MOMENTARILY DISRUPTED. BUT
HE TRIES TO PUSH IT ASIDE, NOT WANTING THE SPELL TO BE BROKEN. HE
STANDS AND TURNS AWAY FROM THE TREE AND LOOKS OUT A NEARBY
WINDOW- IT'S SNOWING AND THE BEAUTIFUL IMAGE OF SNOW SOOTHES HIM
FOR A MOMENT. THEN HE REACTS TO SOMETHING.
 
160     PICARD'S POV (VFN-P)    160
 
REFLECTED ON THE PANE OF GLASS IS THE IMAGE OF THE ORNAMENT- IT'S
STILL BLINKING. PICARD NOW REALIZES THAT THIS IMAGE IS NOT GOING TO
GO AWAY- HE CAN'T HIDE FROM IT.
 
PICARD
NO, THIS ISN'T RIGHT. THIS CAN'T BE REAL.
 
GUINAN'S VOICE
IT'S AS REAL AS YOU WANT IT TO BE.
 
PICARD TURNS TO SEE
 
161     GUINAN (VFN-P)  161
 
STANDING BEFORE HIM. SHE IS WEARING THE SAME OUTFIT SEEN IN THE
BEGINNING OF THE FILM ON THE ENTERPRISE-B. AS THEY TALK, THE
CHILDREN AND THE WOMAN CONTINUE TO MOVE ABOUT THEIR BUSINESS AS IF
PICARD AND GUINAN AREN'T THERE.
 
PICARD IS STUNNED.
 
PICARD
GUINAN, WHAT'S GOING ON? WHERE AM I?
 
GUINAN
YOU'RE IN THE NEXUS.
 
PICARD LOOKS AROUND.
 
PICARD
THIS IS THE NEXUS?
 
GUINAN
FOR YOU. THIS IS WHERE YOU WANTED TO BE.
 
PICARD
BUT I NEVER HAD A WIFE, CHILDREN, A HOME LIKE THIS.
 
GUINAN
ENJOY THEM, JEAN-LUC.
 
PICARD TRIES TO MAKE SENSE OF IT- HE FOCUSES ON GUINAN.
 
PICARD
GUINAN, WHAT ARE YOU DOING HERE? I THOUGHT YOU WERE ON THE
ENTERPRISE.
 
GUINAN
I AM ON THE ENTERPRISE. I AM ALSO HERE. (OFF HIS PUZZLED LOOK)
THINK OF ME AS AN "ECHO" OF THE PERSON YOU KNOW. A PART SHE LEFT
BEHIND.
 
PICARD
LEFT BEHIND?
 
GUINAN
WHEN THE ENTERPRISE-B BEAMED US OFF THE LAKUL, WE WERE PARTIALLY IN
THE NEXUS. THE TRANSPORTERS LOCKED ON TO US, BUT SOMEHOW
EVERYONE LEFT A PART OF THEMSELVES BEHIND.
 
PICARD
SORAN?
 
GUINAN
ALL OF US.
 
PICARD
WHERE IS HE NOW?
 
GUINAN
WHEREVER HE WANTED TO BE.
 
GUINAN SMILES AT HIM.
 
BOY'S VOICE
PAPA, HELP ME BUILD MY CASTLE!
 
PICARD GLANCES OVER AT THE BOY, WHO IS BUILDING A PLAY CASTLE OUT
OF THE 24TH-CENTURY EQUIVALENT OF LEGO. FOR A MOMENT, PICARD IS
TEMPTED TO DRIFT BACK TO THE WARM EMBRACE OF THE FANTASY.
 
PICARD
(TO BOY)
IN A FEW MINUTES.
 
PICARD LOOKS AROUND AT THE CHILDREN, THE LURE TO STAY HERE
BECOMING MORE POWERFUL.
 
PICARD
(CONTINUING, AWED, TO GUINAN)
THESE ARE MY CHILDREN...MY CHILDREN.
 
GUINAN
(SMILES)
YEAH. THEY'RE GREAT, AREN'T THEY? YOU CAN GO BACK AND SEE THEM
BORN, GO FORWARD AND SEE YOUR GRANDCHILDREN. TIME HAS NO MEANING
HERE.
 
WOMAN'S VOICE
DINNER'S READY! LET'S GO!
 
THERE'S A GENERAL RUSH TOWARD THE ADJACENT DINING ROOM. THE
YOUNGEST BOY LOOKS AT PICARD, GOES OVER TO HIM AND TAKES HIS HAND.
 
BOY
PAPA, ARE YOU COMING?
 
PICARD LOOKS DOWN INTO THE FACE OF HIS CHILD. HIS HEART SWELLS, THE
TEMPTATION TO STAY HERE AND LIVE THIS OUT IS PROFOUND. ALMOST IN A
TRANCE, HE TAKES A FEW STEPS WITH THE CHILD TOWARD THE DINING ROOM.
HIS EYE IS CAUGHT AGAIN BY THE UNUSUAL ORNAMENT ON THE TREE FOR A
MOMENT; HE'S TORN BETWEEN THE TWO IMAGES. AND THEN, IN ONE OF THE
MOST DIFFICULT MOMENTS OF HIS LIFE, HE BENDS DOWN TO THE CHILD.
 
PICARD
GO ON, GO ON WITHOUT ME.
 
THE BOY LOOKS AT HIM QUIZZICALLY FOR A MOMENT, THEN OBEYS HIS
FATHER AND DASHES OFF TOWARD THE DINING ROOM TO JOIN THE OTHERS.
PICARD STRAIGHTENS UP AND TRIES TO STEEL HIS VOICE.
 
PICARD
GUINAN, CAN I LEAVE THE NEXUS?
 
GUINAN
WHY WOULD YOU WANT TO LEAVE?
 
PICARD
(INSISTENT)
CAN I?
 
GUINAN
YES, WHERE WOULD YOU GO?
 
PICARD
I DON'T UNDERSTAND.
 
GUINAN
I TOLD YOU, TIME HAS NO MEANING HERE. IF YOU LEAVE, YOU CAN GO
ANYWHERE, ANY TIME.
 
PICARD REALIZES THE OPPORTUNITY BEFORE HIM.
 
PICARD
I KNOW EXACTLY WHERE I WANT TO GO, AND WHEN. BACK TO THAT
MOUNTAINTOP ON VERIDIAN III, BEFORE SORAN PUT OUT THE STAR. I HAVE
TO STOP HIM.
 
GUINAN
WHAT MAKES YOU THINK THINGS WILL BE ANY DIFFERENT THIS TIME?
 
PICARD
YOU'RE RIGHT. I'LL NEED HELP. (BEAT) GUINAN, WILL YOU COME BACK
WITH ME? TOGETHER, WE COULD-
 
GUINAN
I CAN'T LEAVE. I'M ALREADY THERE, REMEMBER?
 
PICARD LOOKS CRESTFALLEN FOR A MOMENT. GUINAN GIVES HIM AN
ENIGMATIC SMILE.
 
GUINAN
I KNOW JUST THE GUY.
 
SUDDENLY THERE'S THE CRY OF A HAWK FROM O.S. PICARD TURNS AT THE
SOUND.
 
162     ENT. KIRK'S HOME- DAY   162
 
PICARD FINDS HIMSELF STANDING OUTSIDE A RUSTIC, BUT ARCHITECTURALLY
STRIKING HOUSE WITH SPECTACULAR VIEWS IN THE CANADIAN ROCKIES. A
HAWK IS CIRCLING OVERHEAD, MAKING THE CRYING SOUND THAT PICARD
HEARD. THE AIR IS COLD, FRIGID- PICARD CAN SEE HIS BREATH. PICARD
IS JUST STARTING TO ADJUST TO THIS SUDDEN CHANGE IN LOCATION WHEN
HE HEARS THE SOUND OF WOOD BEING CHOPPED FROM AROUND THE
CORNER OF THE HOUSE. PICARD MOVES TO LOOK AROUND THE CORNER AND
SEES JAMES T. KIRK. HE'S STILL IN HIS UNIFORM AND LOOKS EXACTLY AS
HE
DID THE LAST TIME WE SAW HIM ABOARD THE ENTERPRISE-B AT THE
BEGINNING OF THE FILM. HE IS VIGOROUSLY CHOPPING WOOD WITH AN AXE.
HE'S ENJOYING HIMSELF, LOST IN THE SHEER PLEASURE OF THE MANUAL
LABOR. HE'S NEVER FELT THIS GOOD IN HIS LIFE. THERE'S NO TRACE OF
BACK
PAIN OR ANY OTHER AILMENT. PICARD RECOGNIZES THE FAMOUS CAPTAIN- AS
WOULD ANY 24TH-CENTURY STARFLEET OFFICER.
 
PICARD
JAMES KIRK.
 
KIRK PAUSES, LOOKS UP AT THE STRANGE MAN BEFORE HIM. HIS EXPRESSION
IS WONDROUS, ALMOST CHILD-LIKE. LIKE IN PICARD'S CHRISTMAS
SEQUENCE, KIRK IS IMMERSED IN THE SENSUAL FEELING OF THE NEXUS.
IT'S LIKE A DREAM THAT HAS OVERPOWERED HIM.
 
KIRK
BEAUTIFUL DAY, ISN'T IT?
 
PICARD
YES, YES, IT IS.
 
KIRK POINTS TO A NEARBY LOG ON THE WOODPILE.
 
KIRK
DO YOU MIND?
 
IT TAKES PICARD A BEAT BEFORE HE REALIZES THAT KIRK WANTS HIM TO
PUT THE LOG ON THE CHOPPING BLOCK FOR HIM.
 
PICARD
OH.
 
PICARD PLACES THE LOG ON THE BLOCK AND KIRK GIVES IT A VIGOROUS
CHOP WITH THE AXE.
 
PICARD
CAPTAIN, DO YOU REALIZE THAT-
 
BUT KIRK INTERRUPTS AS HE SEES SOMETHING O.C.
 
KIRK
WAIT A SECOND. I THINK SOMETHING'S BURNING.
 
PICARD FOLLOWS HIS LOOK TO SEE SMOKE BILLOWING OUT OF ONE OF THE
WINDOWS OF THE HOUSE. KIRK RUSHES INTO THE HOUSE, AND PICARD
FOLLOWS.
 
163     INT. KIRK'S HOME- KITCHEN- DAY- CONTINUOUS      163
 
KIRK RUSHES IN. THE KITCHEN'S DECOR IS 19TH-CENTURY WITH A FEW
23RD-CENTURY TOUCHES- COPPER PANS AND AN ANTIQUE STOVE MIXED
COMFORTABLY WITH COMPUTER CONSOLES AND STARFLEET PARAPHERNALIA.
PICARD HESITATES IN THE DOORWAY- A LITTLE UNSURE ABOUT RUSHING INTO
SOME STRANGER'S HOUSE.
 
KIRK YANKS A BURNING FRYING PAN OF FOOD OFF THE STOVE. IT'S VERY
HOT- HE QUICKLY SETS IT DOWN NEAR THE SINK, WAVES THE SMOKE AWAY
WITH HIS HAND.
 
KIRK
LOOKS LIKE SOMEONE WAS COOKING EGGS. (TO PICARD) COME ON IN, IT'S
ALL RIGHT. THIS IS MY HOUSE- OR AT LEAST IT USED TO BE, I SOLD IT
YEARS AGO.
 
PICARD COMES IN AND TRIES TO ORIENT KIRK TO WHAT'S GOING ON.
 
PICARD
I'M CAPTAIN JEAN-LUC PICARD OF THE STARSHIP ENTERPRISE.
 
BEFORE KIRK CAN REACT TO THIS REMARK, AN ANTIQUE CLOCK ON A SHELF
CHIMES AS IT STRIKES THE HOUR. KIRK MOVES TO THE SHELF AND LOOKS AT
THE CLOCK IN SURPRISE AND WONDER- HE IS ENTRANCED BY THIS
EXPERIENCE, BEGINNING TO CONNECT WITH THINGS AND MEMORIES FROM HIS
PAST.
 
KIRK
THIS CLOCK, I GAVE THIS CLOCK TO BONES.
 
PICARD
(PRESSING ON)
I'M FROM WHAT YOU WOULD CONSIDER THE FUTURE; THE 24TH-CENTURY.
 
KIRK HEARS WHAT PICARD IS SAYING, BUT LIKE PICARD IN HIS FANTASY,
HE IS MORE INTERESTED IN THE SIGHTS AND SOUNDS AROUND HIM. A DOG
BARKS FROM O.C. THEY BOTH LOOK AS A LARGE BLACK DOG BOUNDS INTO
THE ROOM AND GREETS KIRK WITH ENTHUSIASM.
 
KIRK
(AFFECTIONATELY)
JAKE! JAKE, YOU MISERABLE OLD MUTT. HOW CAN YOU BE HERE? (TO
PICARD) HE'S BEEN DEAD SEVEN YEARS.
 
KIRK IS STILL LOOKING AROUND THE KITCHEN WHEN SUDDENLY WE HEAR A
WOMAN"S VOICE FROM SOMEWHERE UPSTAIRS THAT STOPS KIRK IN HIS
TRACKS. AS SHE SPEAKS, WE CAN SEE THE SHOCK ON KIRK'S FACE.
 
ANTONIA'S VOICE
COME ON, JIM, I'M STARVING. HOW LONG ARE YOU GOING TO BE RATTLING
AROUND THAT KITCHEN?
 
A BEAT.
 
KIRK
(AMAZED)
THAT'S ANTONIA!
 
KIRK LOOKS AT THE FOOD ON THE STOVE. HE'S BEGINNING TO REALIZE
SOMETHING.
 
KIRK
WAIT A MINUTE.
 
KIRK GLANCES AT PICARD.
 
KIRK
THE FUTURE.  WHAT ARE YOU TALKING ABOUT? THIS IS THE PAST.
 
KIRK MOVES TO A DRAWER AND OPENS IT. INSIDE IS A HORSESHOE WITH A
TINY RED BOW TIED TO IT. THIS CONFIRMS THINGS FOR KIRK. HE PICKS UP
THE HORSESHOE.
 
KIRK
THIS IS NINE YEARS AGO, THE DAY I TOLD HER I WAS GOING BACK TO
STARFLEET.
 
KIRK IS SWEPT UP IN THE MOMENT, OVERWHELMED BY MEMEORIES,
SENSATIONS, FEELINGS. HE GOES BACK TO THE FRYING PAN AND LOOKS AT
THE CONTENTS WITH A SUDDEN BURST OF RECOGNITION.
 
KIRK
THESE WERE KTARIAN EGGS- HER FAVORITE. I WAS COOKING THEM TO
SOFTEN THE BLOW. (RE: HORSESHOE) AND I GAVE HER THIS.
 
PICARD STEPS IN.
 
PICARD
I KNOW HOW REAL THIS MUST SEEM TO YOU, BUT IT'S NOT. THIS ISN'T
REALLY YOUR HOUSE. WE'VE BOTH BEEN CAUGHT UP IN SOME SORT OF
TEMPORAL NEXUS.
 
BUT KIRK'S MIND IS CLEARLY ELSEWHERE. HE'S BEING SWEPT AWAY BY THE
EMOTION OF THE MOMENT, REALIZING THE OPPORTUNITY HE SUDDENLY HAS.
 
KIRK
DILL WEED.
 
KIRK INDICATES A SHELF, AS IF ASKING PICARD TO GO TO IT.
 
KIRK
THERE'S A BOTTLE OF DILL WEED ON THE SECOND SHELF TO THE LEFT,
RIGHT BEHIND THE NUTMEG.
 
KIRK MOVES TO THE STOVE AND TOSSES OUT THE RUINED EGGS. HE CRACKS
OPEN TWO NEW EGGS ON THE SKILLET AND BEGINS PREPARING A BREAKFAST.
PICARD WAITS FOR A MOMENT, THEN GOES TO THE SHELF, GRABS THE DILL
WEED AND HANDS IT TO KIRK.
 
PICARD
HOW LONG HAVE YOU BEEN HERE?
 
KIRK TAKES THE BOTTLE AND USES IT TO SEASON THE EGGS.
 
KIRK
I DON'T KNOW. I WAS ON THE ENTERPRISE-B, IN THE DEFLECTOR CONTROL
ROOM...KEEP STIRRING THESE, WILL YOU?
 
KIRK MOVES TO A CABINET AND BEGINS PUTTING PLATES ON A BREAKFAST
TRAY. PICARD IS GETTING A LITTLE IMPATIENT, BUT STIRS THE EGGS
ANYWAY.
 
KIRK
THE BULKHEAD IN FRONT OF ME DISAPPEARED, THEN I WAS OUT THERE
CHOPPING WOOD. (BACK TO STOVE) THANKS.
 
KIRK TAKES THE PAN OF EGGS BACK FROM PICARD.
 
PICARD
HISTORY RECORDS THAT YOU DIED SAVING THE ENTERPRISE-B FROM AN
ENERGY RIBBON EIGHTY YEARS AGO.
 
BUT PICARD'S WORDS MEAN ALMOST NOTHING TO KIRK. HE IS THOROUGHLY
ENJOYING HIMSELF AND PICARD IS ALMOST A DISTRACTION. KIRK BEGINS
SERVING THE EGGS ONTO THE PLATES AND GRABS A SMALL VASE OF
FLOWERS TO PUT ON THE TRAY.
 
KIRK
(AMUSED)
SO YOU'RE TELLING ME THIS IS THE 24TH-CENTURY, AND I'M DEAD?
 
PICARD
NOT EXACTLY. AS I SAID, THIS IS SOME KIND OF-
 
KIRK
TEMPORAL NEXUS, YEAH, I HEARD YOU. (FROWNS AT TRAY) SOMETHING'S
MISSING.
 
THEN HE REMEMBERS AND TURNS TO LOOK AT A NEARBY TOASTER- AS IF ON
CUE, TWO SLICES OF TOAST POP OUT. KIRK GRINS AND PUTS THE TOAST ON
THE PLATES. KIRK PICKS UP THE TRAY AND HEADS FOR THE DOOR.
 
PICARD
CAPTAIN, I NEED YOUR HELP. I WANT YOU TO LEAVE THE NEXUS WITH ME.
 
KIRK GOES OUT OF THE KITCHEN AND PICARD FOLLOWS.
 
164     INT. KIRK'S HOME- LIVING ROOM- DAY- CONTINUOUS  164
 
KIRK AND PICARD BOTH ON THE MOVE. KIRK HEADING FOR A STAIRCASE.
 
PICARD
WE HAVE TO GO BACK TO A PLANET CALLED VERIDIAN III AND STOP A MAN
FROM DESTROYING A STAR. THERE ARE MILLIONS OF LIVES AT STAKE.
 
KIRK TRIES TO KEEP IT LIGHT, HOPING THIS MAN WILL GO AWAY.
 
KIRK
YOU SAID HISTORY CONSIDERS ME DEAD. WHO AM I TO ARGUE WITH HISTORY?
 
PICARD
YOU'RE A STARFLEET OFFICER AND YOU HAVE A DUTY TO-
 
KIRK
(HARD)
I DON'T NEED TO BE LECTURED BY YOU. I WAS OUT SAVING THE GALAXY
WHEN YOUR GRANDFATHER WAS STILL IN DIAPERS. AND FRANKLY, I THINK
THE GALAXY OWES ME ONE (BEAT) I WAS LIKE YOU ONCE- SO WORRIED ABOUT
DUTY AND OBLIGATIONS THAT I COULDN'T SEE ANYTHING PAST THIS
UNIFORM. AND IN THE END, WHAT DID IT GET ME? NOTHING. NOT THIS
TIME.
 
KIRK BRUSHES PAST PICARD AND STOPS AT THE FOOT OF THE STAIRS.
 
KIRK
(LOOKING UP THE STAIRS)
I'M GOING TO WALK UP THESE STAIRS, MARCH INTO THAT BEDROOM AND TELL
ANTONIA THAT I WANT TO MARRY HER.
 
KIRK BEGINS TO CLIMB THE STAIRS.
 
KIRK
THIS TIME THINGS ARE GOING TO BE DIFFERENT.
 
HE GOES THROUGH A BEDROOM DOOR AND CLOSES IT BEHIND HIM. PICARD
GLANCES AROUND THE ROOM IN FRSUTRATION, THEN GETS A DETERMINED
LOOK ON HIS FACE AND MARCHES UP THE STAIRS AFTER KIRK, GRASPS THE
DOORKNOB, OPENS IT AND STEPS THROUGH THE DOOR INTO
 
165     INT. BARN- DAY- CONTINUOUS      165
 
PICARD SUDDENLY FINDS HIMSELF STANDING IN THE DOORWAY OF A WOODEN
BARN. STRAW ON THE FLOOR, FARM IMPLEMENTS ON THE WALLS, SUNLIGHT
STREAMING IN THROUGH THE SLATS. THERE ARE STALLS IN THE BARN WITH
A FEW HORSES VISIBLE. KIRK IS STANDING A SHORT DISTANCE AWAY. HE
LOOKS SURPRISED AS WELL- AND HE IS NO LONGER HOLDING HIS TRAY OF
FOOD.
 
PICARD
(RE: BARN)
THIS DOESN'T LOOK LIKE YOUR BEDROOM.
 
KIRK LOOKS AROUND FOR A MOMENT, THE PIECES STARTING TO FALL INTO
PLACE. HE SMILES WITH A GROWING REALIZATION.
 
KIRK
NO, NO, IT'S NOT. IT'S BETTER.
 
PICARD
BETTER?
 
KIRK
THIS IS MY UNCLE'S BARN IN IOWA.
 
HE POINTS TO A HORSE WITH A SADDLE ON IT.
 
KIRK
(RE: HORSE)
I TOOK THAT HORSE OUT FOR A RIDE SEVEN YEARS AGO, ON A SPRING DAY.
 
KIRK MOVES TO THE BARN DOOR AND OPENS IT REVEALING A BEAUTIFUL
SPRING DAY.
 
KIRK
JUST LIKE THIS. IF I'M RIGHT, THIS IS THE DAY I MET ANTONIA.
 
HE TURNS TO PICARD.
 
KIRK
THIS NEXUS OF YOURS IS VERY CLEVER. I CAN START ALL OVER AGAIN; DO
THINGS RIGHT FROM DAY ONE.
 
KIRK GRABS THE HORSE, SWINGS UP ONTO THE SADDLE, AND RIDES OUT OF
THE BARN, FILLED WITH EXCITEMENT. PICARD WATCHES HIM FOR A MOMENT,
